Natura morta (rame e funghi)

Imbuto e mele

Marco Gizzi Curriculum

Gizzi began painting in 1979, and his works can be divided into two distinct stages or complementary periods which reflect the assimilation and revision of his style during his career.

His first period lasts until 1989 and is marked by paradigmatic compositions which are dynamic and dizzying, with sophisticated plays of light revealing stormy and bruised surfaces creating an illogical expectation. With surrealistic themes recalling the work of Max Ernst, Gizzi fills his works with mutant objects, characterized by metempsychosis.

Gizzi's second period (1989-2006) marks a move towards the sublimation of forms, which are silently subtle and seem sprayed on the canvas. Surreal landscapes include the abyss of the sea and unconventional spaces that symbolize a consciousness stemming from natural feelings, and the observer can lose him or herself in a sublime and melancholic infinite. Reality represents the spirit and objects stand for things just beyond reality. The lesson of Gizzi's work is that art is the favourite instrument of knowledge.

Gizzi's latest pieces astound with their intricate detail, and mastery of depth, plasticity, and transparency. Given the style and pictorial poetry of Gizzi's work, it is easy to label them as hyperrealism. Though his paintings are impeccably realistic, they also give a sense of novelty, as if the object is being truly seen for the first time. Rather than an imitation of reality, Gizzi's art is a metaphor for the "real"; he doesn't depict the "visible" but the essence and the secrets which is concealed within the object.

His works are also contemplations and studies of the subject's relationship to its surroundings ( often a "non-place"), both space and light. Gizzi's compositions aspire to a perfect balance and symmetry between all elements, representing them as dynamic and vital . His use of colour and composition combine to create an atmosphere which is neither cold nor remote, but instead convey the mood of his imagination visually.